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1、USER GUIDEVERSION 1.2v17Keylight on After Effects User Guide. Copyright 2015 The Foundry Visionmongers Ltd. All Rights Reserved. Use of this User Guide and the Keylight software is subject to an End User License Agreement (the EULA), the terms of which are incorporated herein by reference. This User

2、 Guide and the Keylight software may be used or copied only in accordance with the terms of the EULA. This User Guide, the Keylight software and all intellectual property rights relating thereto are and shall remain the sole property of The Foundry Visionmongers Ltd. (The Foundry) and/or The Foundry

3、s licensors.The EULA can be read in the Keylight User Guide Appendices.The Foundry assumes no responsibility or liability for any errors or inaccuracies that may appear in this User Guide and this User Guide is subject to change without notice. The content of this User Guide is furnished for informa

4、tional use only.Except as permitted by the EULA, no part of this User Guide may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of The Foundry. To the extent that the EULA au

5、thorizes the making of copies of this User Guide, such copies shall be reproduced with all copyright, trademark and other proprietary rights notices included herein. The EULA expressly prohibits any action that could adversely affect the property rights of The Foundry and/or The Foundrys licensors,

6、including, but not limited to, the removal of the following (or any other copyright, trademark or other proprietary rights notice included herein):The Foundry logo is a trademark of The Foundry Visionmongers Ltd. After Effects is a registered trademark of Adobe Systems Incorporated. All other produc

7、ts orbrands are trademarks orregistered trademarks of their respective companies or organisations.In addition to those names set forth on this page, the names of other actual companies and products mentioned in this User Guide may be the trademarks or service marks, or registered trademarks or servi

8、ce marks, of their respective owners in the United States and/or othercountries. Noassociation with anycompany orproduct isintended orinferred bythe mention of its namein this User Guide.Software engineering: Ralph McEntagart, Lucy Wilkes, Andy Whitmore, Bruno Nicoletti, Simon Robinson, and Jack Bin

9、ks. Initial algorithm development: Wolfgang Lempp and Oliver James.The Foundry5 Golden Square LondonW1F 9HT UKRev: 06 May 2015Contents1 IntroductionAbout this Manual6Release Notes6Example Images6Installing Keylight 1.2v17 on After Effects6On Windows7On Mac7About The Foundry72 Getting StartedIntroduc

10、tion9Quick Key93 Basic KeyingBasic Workflow12Screen Colour12View13Status13Despill Bias144 Advanced KeyingScreen Colour15Despilling17Despill Bias17Alpha Bias18Screen Gain19Screen Balance19Clip Levels20View20Status View21Screen Matte23Clip Rollback23Grow & Shrink24Despot25Colour Replacement25Inside &

11、Outside Masks26Creating an Inside/Outside Mask27Source Alpha28Colour Correction29Edge Colour Correction30Source Crops315 TutorialIntroduction32Example Images32Tutorial 1: Simple Key32Tutorial 2: Fine Tuninga Key35Tutorial 3: Extreme Blue Spill36Tutorial 4: A Red Green Screen39Tutorial 5: Inside & Ou

12、tside Masks41Appendix A: Release NotesKeylight 1.2v1747Keylight 1.2v1648Keylight 1.2v1548Keylight 1.2v1449Keylight 1.2v1350Keylight 1.2v1251Keylight 1.2v1152Keylight 1.2v1052Keylight 1.2v953Keylight 1.2v853Keylight 1.2v654Keylight 1.2v555Keylight 1.2v456Keylight 1.2v356Keylight 1.2v257Keylight 1.2v1

13、58Keylight 1.1v159Keylight 1.0v460Keylight 1.0v361Keylight 1.0v262Keylight 1.0v162Appendix B: Third Party LicencesThird Party Licences64Appendix C: End User License Agreement (EULA)End User License Agreement (EULA)671 IntroductionWelcome to this User Guide for Keylight on After Effects.Keylightisani

14、ndustry-provenblueandgreenscreenkeyer.Thecorealgorithmwasdevelopedby TheComputerFilm Company(now Framestore)andhasbeenfurtherdevelopedandportedto After Effects by TheFoundry.About this ManualUse the Getting Started chapter to see how a simple key is pulled using Keylight. The Basic Keying chapter go

15、es over the most common parametersyoull needto pull a variety of keys. TheAdvanced Keyingchapterexplainshow to tackle difficultkeys.Release NotesFor information on system requirements, new features, improvements, fixed bugs and known bugs & workarounds, see Appendix A: Release Notes on page 47.Examp

16、le ImagesExampleblueandgreenscreenimagesforusewithKeylightcanbedownloadedfromourwebsite www.thefoundry.co.uk.Installing Keylight 1.2v17 on After EffectsPlease note that installing this version of Keylight overwrites any other versions of Keylight that have been installed in the Plug-ins folder.If yo

17、u would liketo retainthe versionof Keylight shippedwith After Effects, pleasemove the existingKeylight folder to an alternate location (outside the Effects folder) and then copy the Keylight_1.2_AE folder from the download into the Effects folder described below.ON After Effects USER GUIDE61 INTRODU

18、CTION | ABOUT THE FOUNDRYOn WindowsKeylight is distributed as a software download from our web site at www.thefoundry.co.uk. To install Keylight on a computer running Windows follow these instructions:1. Download the .tgz file from our web site at www.thefoundry.co.uk.2. Unzip the file and copy the

19、contents of the Keylight folder into the existing Keylight folder in the Adobe After Effects installdirectory:Support FilesPlug-insEffectsKeylightOn MacKeylight is distributed as a software download from our web site at www.thefoundry.co.uk. To install Keylight on a computer running Mac OS X follow

20、these instructions:1. Download the .tgz file from our web site at www.thefoundry.co.uk.2. Unzip the file and copy the contents of the Keylight folder into the existing Keylight folder in the Adobe After Effects installdirectory:/Plug-ins/Effects/KeylightAbout The FoundryThe Foundry is a leading deve

21、loper of visual effects and image processing technologies for film and video post production. Its stand-alone products include Nuke, Modo, Mari, Hiero, Katana, and Flix. The Foundry also supplies a suiteof plug-ins,includingOcula,CameraTracker,Keylight,Kronos,andFurnaceandFurnaceCoreforavariety of c

22、ompositingplatforms, includingAdobe After Effects, Autodesk Flame,Avid DS, and ApplesFinalCut Pro. For the full list of products and supported platforms, visit our website at http:/www.thefoundry.co.uk.NukeisanAcademyAwardwinningcompositor.It hasbeenusedtocreateextraordinaryimagesonscoresof featuref

23、ilms,includingAvatar,District 9, TheDark Knight,Iron Man,Quantumof Solace,TheCuriousCaseof Benjamin Button, Transformers, and Pirates of the Caribbean: At Worlds End.Modo bringsyou the next generationof 3D modeling,animation,sculpting,effects andrenderingina powerful integrated package.Mariis a crea

24、tive texture-painting tool that canhandleextremely complex or texture-heavy projects. It was developedatWetaDigitalandhasbeenusedonfilms,suchasDistrict9, TheDaytheEarthStoodStill,TheLovely Bones, andAvatar.Hiero is a collaborative, scriptable timeline tool that conforms edit decision lists and parce

25、ls out VFX shots to artists, allowing progress to be viewed in context, and liberating your finishing systems and artists for more creative tasks.ON After Effects USER GUIDE8Katanaisalook developmentandlightingtool,replacingtheconventionalCGpipelinewith aflexiblerecipe-based asset workflow. Its node

26、-based approach allows rapid turnaround of high-complexity shots, while keeping artists in control and reducing in-house development overheads. Extensive APIs mean it integrates with a variety of renderers and your pre-existing shader libraries and workflow tools.Flix is a collaborative, visual stor

27、y-development tool. It allows directors, editors, cinematographers, storyboard artists, and pre-visualization artists to explore ideas quickly, saving valuable time, and to easily collaborate on the visual story development of a film.Ocula is a collection of tools that solve common problems with ste

28、reoscopic imagery, improve productivity in post production, and ultimately helpto delivera morerewarding 3D-stereo viewingexperience.CameraTracker is an After Effects plug-in allowing you to pull 3D motion tracks and matchmoves without having to leave After Effects. It analyses the source sequence a

29、nd extracts the original cameras lens and motion parameters, allowingyoutocomposite2D or3D elementscorrectlywithreferencetothecamerausedtofilmtheshot.Keylightisanindustry-provenblue/greenscreenkeyer,givingresultsthat lookphotographed,not composited.The Keylight algorithm was developed by the Compute

30、r Film Company who were honoured with a technical achievement award for digital compositing from the Academy of Motion Picture Arts and Sciences.Kronos is a plug-in that retimes footage using motion vectors to generate additional images between frames. Utilising NVIDIAs CUDA technology, Kronos optim

31、ises your workflow by using both the CPU and GPU.FurnaceandFurnaceCorearecollectionsof filmtools. Manyofthealgorithmsutilisemotionestimationtechnology to speed up common compositing tasks. Plug-ins include wire removal, rig removal, steadiness, deflicker, degrain and regrain, retiming, and texture t

32、ools.2 Getting StartedThis chapter shows you how to pull a simple key using Keylight.IntroductionKeylight was first developed by The Computer Film Company to help with difficult keys in feature films. Over the years, Keylight has been refined in production on hundreds of films.NOTE: Whenwerefertoblu

33、escreensthroughoutthetext wemean,of course,blueorgreenscreens.Quick KeyKeylight is available from the Effect - Keying menu in After Effects.ConsiderthisshotfromTheSaint,picturescourtesyof FramestoreandParamountBritishPicturesLtd. Thefirst imageisthebluescreenforegroundthat shouldbecompositedovertheb

34、ackgroundshowninthesecondimage.BlueScreen.Background.ON After Effects USER GUIDE92 GETTING STARTED |If you want to have a go of this shot, you can! Theimagescan be downloadedfrom our website andthis quick key is also covered in the Tutorial Chapter. See Tutorial 1: Simple Key on page 32Throughoutthi

35、suserguideweassumeagoodunderstandingof AfterEffects. Toperformthisquickkey,dothe following:1. Create a new composition using SaintFG.tif and SaintBG.tif. Layer the clips with the blue screen over the background as shown below.Screen Shot showing Saint blue screen.2. Select the blue screen clip (Sain

36、tFG.tif) in the Time Layout window and apply Keylight from the Keying sub-menu of the Effect menu.Apply Keylight from the Effect - Keying menu.3. The Keylight parameters are shown below.ON After Effects USER GUIDE11Keylight Parameters.4. Select the ScreenColour eye dropper andclick on the blue scree

37、nin the composition window. A good placeto pick is the blue from the back windscreen as this has no reflections. Picking this blue will key the back windscreen perfectly leaving reflections in the side window.Pick the blue from the back windscreen.5. Thats it. In many cases this is all you will need

38、 to do to perform a key, since selecting the screen colour creates a matte and despills the foreground. The final composite is shown below.Final composite.Thereareacoupleof extrastepsthat canbetakentofinetunethis keyandthesearediscussedinTutorial2: Fine Tuning a Key on page 35.Pickingthe screencolou

39、rmay beenoughfor alot of keys, but therearemany moretools withinKeylightthat canbe used to tackle more complicated shots. These aredescribed in later chapters.3 Basic KeyingThe following section describes the parameters you need to do basic keying. This will give you enough to tackle most simplekeys

40、. A discussion of advancedparametersto fine tune and tacklecomplex keys canbe found in the next chapter.Basic WorkflowThe first step is always to pick the Screen Colour. Then view the composite and the screen matte.If there is blue spill on the composite pick skin tones for the Despill Bias from the

41、 foreground actor.If the background is showing through the foreground or the foreground is showing on the background, you need to improve your matte using the Clip Black and Clip White parameters. In the next chapter well look at ways of doing this with inside and outside masks. Inside Mask Tip on p

42、age 28Screen ColourTheScreenColourisprobablythemostimportant parameterandyoushouldalwayspickthescreencolourbefore doing anything else. It should be set to the colour of the greenor bluecurtain behind the foreground object. View theSourceimageintheCompositewindow,selecttheeyedropperandpickthescreenco

43、lour.SettingtheScreen Colour will create a matte - the Screen Matte - and despill the foreground. In some cases this is enough to get a decent key. For more information on Screen Colour see Screen Colour on page 15.The image below shows a well lit blue screen behind an actor. You should note that re

44、peatedly picking the Screen Colourwilloverrideanypreviousselections.It willnot addto previousselectionsandkeymoreof the imagewith each click.Blue Screen.NOTE: You should always pick screen colours from the Source image and not the Final Result.ON After Effects USER GUIDE123 BASIC KEYING | VIEWTIP: I

45、tsworthpickingseveraldifferentbluesandforeachoneviewingthematteandstatustojudgethe key.ViewAfterpickingtheScreenColouritsusefultobeabletocheckthequalityof thekeybyviewingthecompositeandthe screen matte. You can do this using the View Menu, shown here.View Menu.The options youll use the most are: Scr

46、een Matte - this renders the matte created by picking the screen colour. Status - this renders an exaggeratted view of the mattes so that minorproblemsareshownclearly. Final Result - this renders the foreground composited over the background using all mattes, spill and colour corrections.StatusTheSt

47、atus isone of the options intheViewmenuandshowsanexaggeratedviewof the key sothat you canmakea more informed decision when refining the composite. The image on the left shows the Status display after the screen colour has been picked from the image on the right.Green Screen.Status.ON After Effects U

48、SER GUIDE133 BASIC KEYING | DESPILL BIASThree colours are displayed. Black pixels show areas that will be pure background in the final composite. White pixels show areas that will be pureforeground. Mid-grey pixels willbe a blend of foreground and background pixels in the final composite. You need g

49、rey pixels around the edge of the foreground to get a good key at the foreground edge. However, if there are grey pixels where there should be pure background, you should try to remove these with the Screen Strength, Clip Black or OutsideMask. If youhavegreypixelswherethereshouldbepureforegroundthis

50、 tells you that parts of the background will show through here and you will need to firm up the foreground with Clip White or an Inside Mask.Pixels that are a blend between the foreground and background areshown in just one shadeof grey. This is done to highlight potentialproblemswith the key. These

51、greypixelsmay representaforeground/backgroundblendof 50/50 or 99/1. No distinction is made as to this ratio.You may occasionally see other colours in the Status View and these are covered on Status View on page 21 in the Advanced KeyingChapter.Despill BiasAlthoughthe foreground is despilledautomatic

52、ally,you may find the needto pullout a little moreof the screen colour after picking from the image. You can do this with the Bias controls.Exaggeratedbluespill.Despill Bias used to removetheblue spill.By defaulttheBiascontrolsarelockedtogether,whichinthevastmajorityof cases,isthebestwaytousethem.Se

53、e Despillingin the Advanced keying section for a look at a case whereunlinking the bias controls is a good tactic.Thus,usingeitherbiascontrolcolourdropper,pickthepredominantforegroundcolour.Inthemajorityof casesits bestto pickskintones from the foregroundactor,asviewerstend to bemost tuned to colour

54、shifts intheseareas.ON After Effects USER GUIDE144 Advanced KeyingThe following section describes the parameters you need to fine tune keys and get the most out of Keylight. Basic parameterscovered in the previous chapter may also be covered here in more detail.Screen ColourThescreencolourrepresents

55、the colourof the pureblue(or green) screen. Thefirst thing you shoulddo whenpulling a key ispickthe ScreenColour. Thissinglecolourhasa primary component, blueor green,andthat hasa saturation. Oncethescreencolourhasbeenpicked,Keylightanalysesallthepixelsintheimageandcomparesthesaturationof the primar

56、y component in each of thesepixels with the corresponding saturation of the screencolour, setting the alpha and modifying the colour accordingly.TIP: Pickingdifferentshadesof blueorgreenfromthebackgroundcangivequitedifferentresults.Its worthexperimentingwithdifferentscreencoloursif yourinitialpickdi

57、dntgiveagoodkey.Workflow TipIt canalsobeusefulto viewtheStatus andSourcesideby sideasshownbelowsothat you canrepeatedlypickfrom one while viewing the result in the other window.Two Views.ON After Effects USER GUIDE154 ADVANCED KEYING |Background PixelIf the saturationof the pixelinthe imageisasstrong,or greaterthan the s